DOCSLIB.ORG

My Musical Identity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
My Musical Identity MY MUSICAL IDENTITY Alexey León Reyes Valencia Spain Master of Music Candidate Contemporary Performance Berklee College of Music-Valencia Campus Supervisor Victor Mendoza TABLE OF CONTENTS 1. INTRODUCTION…………………………………..2 2. PROJECT DESCRIPTION……………………….4 3. ACTIONS…………………………………………..4 4. THE PROCESS 4.1. Research and preparation…………………. 5 4.2. Transcription………………………………… 5 4.3.Composition………………………………….. 6 4.4. Performances……………………………….. 7 4.5. Recording……………………………………. 7 5. SONGS RECORDED 5.1. Mi Changui………………………………… 8 5.2. Como Fue………………………………… 8 5.3. Lidia………………………………………… 8 5.4. De Reojo……………………………………8 5.5. A Paula……………………………………...8 5.6. Drume Negrita……………………………. .8 5.7. El Güije…………………………………….. 9 5.8. 5.8. Un Yoruba meets Russian…………. 10 6. PROMOTION…………………………………….. 13 7. CONCLUSIONS………………………………… 16 ACKNOWLEDGEMENTS I would like to express my deep gratitude to Professors Enric Alberich and Victor Mendoza my research supervisors, for their patient guidance, enthusiastic encouragement and useful critiques of this research work. I would also like to thank my teachers Alain Perez y Yoel Paez for inspiration, advice and assistance. I´m extremely grateful to my teacher and mentor Perico Sambeat for his unconditional support, guidance and advice. I would also like to extend my thanks to all the Berklee Faculty, the musicians and studio engineers for their help in offering me the resources in running the recordings. Finally, I wish to thank my parents for their support and encouragement throughout my study. 1 1. INTRODUCTION Cuban music surrounds me ever since I was born. When a child, my first music experience was the sound of Orquestra Original de Manzanillo and of the wind orquestra Glorietta Morisca, which used to play danzon and other traditional Cuban music in the park of Manzanillo, my native town, called ‘La tierra del Son’ as well, ‘the land of the son’. I remember being taken away by this music and my childish desire to learn how to play the flute and the saxophone. My musical training began at the age of 5 playing the recorder. Two years later I began studying the piano at a local music school, and later, at the age of 11, I got familiar with jazz, beginning with the records of Charlie Parker and Paquito de Rivera. At the age of 16 me and my brother decided to move to Moscow where I attended Gnesin music high school and studied classical and contemporary saxophone repertoire, mostly French. Studying there helped me to learn the traditional repertoire and get the foundations of the instrument, sound and the technical skills. Later, my teacher noticed my constant interest in improvisation and Jazz and recommended me to continue my studies at the Department of Gnesin Music Academy where began taking my first steps in jazz and improvisation. My deep interest in my roots as a person and search of self-identification through my music led me to the idea of fusing the two music cultures that I was always exposed to. 2 I gathered all the possible information about the traditional styles and to listen to lots of recordings. I transcribed numerous compositions and solos, started a trio where I sang traditional Cuban music and a Latin Jazz quintet the repertoire of which consisted mostly of my transcriptions and adaptations. Figure 1: Cafe Yauzskaya, Moscow I tried to meet every Latin musician that would visit Moscow and to talk with him or her whenever I could. Among them were Claudio Rodity, Horacio Hernandez, Diego Urcola, Rebeca Mauleon and many others. My thesis in Gnesin Music Academy was about Afro-Cuban and Latin jazz. It an analysis of the styles and analysis of transcriptions of compositions by groups like Irakere, Bronx Horns, Claudio Rodity, Emiliano Salvador, Paquito D’Rivera, Hilton Ruiz, Arturo Sandoval. At Berklee Valencia I continued transcribing and learning about Afro- Cuban music. I took clases with Alain Perez, Yoel Paez and was fortunate to 3 have guidance of my teacher and mentor Perico Sambeat in many aspects of jazz improvisation and different styles as well as an unconditional help and support of Enric Alberich in composition and arrangement, etc. I met many Cuban musicians outside Berklee and made performances and colaborations with them. Among them are Carlos Sarduy, Abel Marcel, Ariel Bringuez, Javier Masso, Julio Montalvo and his Latin big band, Jeorvis Pico, Roque Martinez, etc. 2. PROJECT The concept of my project is to complete my previous work and to make musical illustrations of it. It contains a general theoretic work with an overview of the main styles of Afro-Cuban music. As a part of this project during the year I composed, 5 original tunes and arranged 3 Cuban traditional songs, performed and recorded them. 3. ACTIONS The interesting feature of the project is that all the musicians on my recordings are not from Cuba but they are all great jazz players. This fact was very important during the whole process, the pieces that were created and recorded later were written for specific players that I counted with. The process involved many actions that were happening simultaneously. Listening, Transcription, Composition, Arrangement, Instrumentation, Performing, Recording etc. 4 For me the biggest challenge was organization, it took the most part of time and energy and would teach me some new things every time I would start a new project. It was important to show the material regularly in public during regular gigs, be able to get feedback and do the necessary corrections. As a result of my work I began trying other instruments in my music and experiment with new instrumentations. The flute, the soprano saxophone, singing would be heard more often as well as the use of electronic elements etc. Before starting composing the pieces I created a time line and divided the whole process into three parts. 4. THE PROCESS 4.1. Research and preparation. During this period I transcribed numerous solos and arrangements and made a list of CD´s I would later transcribe. I listened to each carefully, making notes on the ideas that attracted my attention and the features I would like my music to have. During that time I was taking all the core theory courses on harmony, ear training, composition and arrangement. 4.2. Transcription Here are works of other that I listened and transcribed at that period among them are: 1. Emiliano Salvador ¨Puerto Padre¨. 2. Tony Martinez and the Cuban Power ¨Noticias de Cuba¨ 3. Tony Martinez ¨Maferefun¨ 5 4. Eddie Palmieri ¨Listen Here¨ 5. Ray Vega ¨Latin Jazz Sextet¨ 6. The Bronx Horns ¨Catch The Feeling¨ 7. Jazz Meets Cuba 8. Antonio Hart ¨Amo tu sonrisa¨ 9. Larry Coriel Live From Bahia 10. Ray Barretto ¨Trancedance¨ 11. Perico Sambeat Ademuz 12. Carlos Sarduy ¨Charly en La Habana¨ 13. Alain Perez En el Aire 14. Irakere 30 Años 15. Paquito D’Rivera Reunion 16. Diego Urcola Apreciation 17. Victor Mendoza ¨Black Bean Blues¨ 18. Frank Emilio Flynn Barbarisimo 19. Paquito D´Rivera Live at the blue note Among with the jazz transcriptions I would make on a weekly basis for my classes over 100 transcriptions were made during the year. Later during the process of composition the source of inspiration were life situations and some of my pieces are dedicated to people that are dear to me. I would let go my imagination and then adapt the piece to the most appropriate style groove, tempo etc. that would reflect the mood and feelings. Many times at start I wasn’t sure about what I was to create stylistically though it was very clear to me what I wanted say in each piece. I made a big pool of ideas and concepts that I used later. 4.3. Composition I kept a notebook of the musical ideas that were coming to me on the way as well as recording every melody that appear in my mind on my telephone and 6 later listening them through and transcribing the ones that could be developed in to a composition. Each one would appear in different situations and would be inspired by a particular person or mood. That’s how I´ve got to the idea of story telling. After that I would try to play it to someone and make the necessary corrections arrangement wise, etc. And after that record it. 4.4. Performances. I began organizing gigs in different venues in Valencia; playing my songs with the musicians I would later record them with. In total I made 30 performances during this year 8 of them featured my original material. All the songs represent various elements of Latin and Afro-Cuban jazz. 4.5. Recording 8 songs were recorded during the second semester. Most of them are arranged for a 5-7piece band: a saxophone, a trumpet, flute, trombone and a rhythm section; During the process of composition my focus was not only on the Afro- Cuban elements but also on the elements of Russian Folkloric music. 5. SONGS RECORDED. The songs I composed, arranged and recorded are: 1) Mi Changui (Jazz-Folk Fusion) 2) Como Fue(Afro-Cuban Russian Fusion) 3) Lidia (Bolero-Danzon) 4) El Guije (Bolero-Danzón) 7 5) Yoruba meets Russian (Jazz Folk Fusion) 6) De Reojo (Fusion-Songo-Mozambique) 7) A Paula (Balad) 8) Drume Negrita (Jazz-Folk Fusion) A real person inspires every composition and arrangement and behind each there is a story. 5.1. Mi Changui. I have a personal bound with this style. Changui is an ancestor of Cuban son originally from the part of Cuba called Oriente. The city where I was born Manzanillo, is the provincial center of Granma that is famous for its musical tradition. I used to listen to this style from my very early childhood and wanted to make a tribute to the style.
Load more

Recommended publications
  • Paquito D' Rivera
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. PAQUITO D’RIVERA NEA Jazz Master (2005) Interviewee: Paquito D’ Rivera (June 4, 1948 - ) Interviewer: Willard Jenkins with recording engineer Ken Kimery Date: June 11, 2010 and June 12, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 68 pp. Willard: Please give us your full given name. Paquito: I was born Francisco Jesus Rivera Feguerez, but years later I changed to Paquito D’Rivera. Willard: Where did Paquito come from? Paquito: Paquito is the little for Francisco in Latin America. Tito, or Paquito Paco, it is a little word for Francisco. My father’s name was Francisco also, but, his little one was Tito, like Tito Puente. Willard: And what is your date of birth? Paquito: I was born June 4, 1948, in Havana, Cuba. Willard: What neighborhood in Havana were you born in? Paquito: I was born and raised very close, 10 blocks from the Tropicana Cabaret. The wonderful Tropicana Night-Club. So, the neighborhood was called Marinao. It was in the outskirts of Havana, one of the largest neighborhoods in Havana. As I said before, very close to Tropicana. My father used to import and distribute instruments and accessories of music. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Willard: And what were your parents’ names? Paquito: My father’s name was Paquito Francisco, and my mother was Maura Figuerez. Willard: Where are your parents from? Paquito: My mother is from the Riento Province, the city of Santiago de Cuba.
    [Show full text]
  • Grammy Award-Winning Pianist Chucho Valdés Returns to Symphony Center with a Celebration of the Legendary Cuban Band Irakere
    For Immediate Release: Press Contacts: October 29, 2015 Eileen Chambers, 312-294-3092 Rachelle Roe, 312-294-3090 Photos Available By Request [email protected] GRAMMY AWARD-WINNING PIANIST CHUCHO VALDÉS RETURNS TO SYMPHONY CENTER WITH A CELEBRATION OF THE LEGENDARY CUBAN BAND IRAKERE November 6, at 8:00 p.m. CHICAGO—The 2015/16 Symphony Center Presents (SCP) Jazz series continues on Friday, November 6, at 8:00 p.m. with Irakere 40, a celebration of legendary Cuban pianist Chucho Valdés and his iconic group, Irakere, which marks 40 years of groundbreaking Latin jazz this year. Irakere, assembled by Valdés in 1973, has taken many forms over its near half-century of touring and performing, but Valdés has remained one of its constants. For this one-of-a kind retrospective concert, Valdés leads a 10-piece band in Irakere’s classic hits such as “Misa Negra” “Estela Va A Estallar” (“Stella By Starlight”), ”Juana 1600,” and “Bacalao Con Pan,” as well as more recent compositions, originally performed with the Afro-Cuban Messengers, in new arrangements by Valdés, such as “Yansa,” “Abdel” and “Lorena’s Tango. In conjunction with the current U.S. tour of Irakere 40, the Jazz Village/harmonia mundi label will release a new recording, Chucho Valdés: Tribute to Irakere (Live in Marciac), on November 13, 2015, featuring Chucho’s current group, the Afro-Cuban Messengers. “When I decided to do a tribute to that marvelous band (Irakere), I also decided I didn’t want to do it with the charter members, but with players from a generation of musicians that grew up and learned from Irakere.
    [Show full text]
  • Introducing Leonardo Acosta, Music and Literary Critic
    Vol. 5, No. 3, Spring 2008, 95-121 www.ncsu.edu/project/acontracorriente Introducing Leonardo Acosta, Music and Literary Critic Raúl A. Fernández University of California—Irvine Daniel Whitesell Irvine Valley College The recent awards bestowed on Leonardo Acosta, in particular Cuba’s Premio Nacional de Literatura (2006), come as no surprise to the authors of this article who have long been aware of the breadth and depth of Acosta’s essays on music and literature. To many, however, Acosta’s writing career has remained largely invisible. In part this is because Acosta’s major essays began to appear in the early 1980s when he was nearly fifty years old, a time by which most professional writers have established their careers; in part, because he had labored rather independently of any official Cuban institutions. As Acosta noted in his acceptance speech for the Premio Nacional de Literatura he had not been identified as “associated with any literary ‘group,’ or ‘revista,’ or ‘generation,’ or ‘cohort’. Neither had [he] participated in any aesthetic or ideological polemic affecting arts and letters…” His ‘invisibility” may also be in part because his writing has consisted primarily of ensayos, a genre Fernández 96 that attracts less attention from literary critics than poetry or prose narrative. Another contributing factor has been the diversity of the intellectual field Acosta defined for himself—he began as a professional musician, became a journalist, poet and short story writer for a decade, and then became a writer on music and literature. This career trajectory makes it difficult for any other single author to evaluate Acosta’s work as a whole.
    [Show full text]
  • Redalyc."Somos Cubanos!"
    Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Froelicher, Patrick "Somos Cubanos!" - timba cubana and the construction of national identity in Cuban popular music Trans. Revista Transcultural de Música, núm. 9, diciembre, 2005, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82200903 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Somos Cubanos! Revista Transcultural de Música Transcultural Music Review #9 (2005) ISSN:1697-0101 “Somos Cubanos!“ – timba cubana and the construction of national identity in Cuban popular music Patrick Froelicher Abstract The complex processes that led to the emergence of salsa as an expression of a “Latin” identity for Spanish-speaking people in New York City constitute the background before which the Cuban timba discourse has to be seen. Timba, I argue, is the consequent continuation of the Cuban “anti-salsa-discourse” from the 1980s, which regarded salsa basically as a commercial label for Cuban music played by non-Cuban musicians. I interpret timba as an attempt by Cuban musicians to distinguish themselves from the international Salsa scene. This distinction is aspired by regular references to the contemporary changes in Cuban society after the collapse of the Soviet Union. Thus, the timba is a “child” of the socialist Cuban music landscape as well as a product of the rapidly changing Cuban society of the 1990s.
    [Show full text]
  • 15 New York Times
    Retrieved from https://www.nytimes.com/aponline/2017/04/10/arts/ap-us-us-music- international-jazz-day.html?_r=0 on 10 April 2017 at 12:00 AM Havana Named as Host City for 2017 International Jazz Day By THE ASSOCIATED PRESS APR. 10, 2017, 8:01 A.M. E.D.T. NEW YORK —Herbie Hancock has twice before visited Havana to perform intimate solo- duet concerts with his Cuban counterpart Chucho Valdes, but at the end of April the two renowned jazz pianists will be collaborating on a grander scale. Hancock and Valdes will be serving as artistic directors for the 6th International Jazz Day. On Monday, the United Nations Educational, Scientific and Cultural Organization announced that Havana will be the global host city for the event, culminating with an all-star concert on April 30 at the recently renovated 19th-century Gran Teatro de La Habana. The concert will be broadcast live on Cuban television and live streamed by UNESCO. Last year, Washington was the host city with President Barack Obama and first lady Michelle Obama hosting the global concert at the White House. "Many times we think of Cuba as having great baseball players, which they do, but they have amazing jazz players and we've experienced the greatness of Cuban jazz musicians for many, many decades," Hancock, a UNESCO goodwill ambassador, said in a telephone interview. "I'm hoping that the true creative spirit and artistry of the Cuban musicians will be recognized globally." Hancock will be bringing about two dozen international jazz artists to Cuba.
    [Show full text]
  • Irakere Irakere Mp3, Flac, Wma
    Irakere Irakere mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Latin Album: Irakere Country: Japan Released: 2016 Style: Afro-Cuban Jazz MP3 version RAR size: 1655 mb FLAC version RAR size: 1187 mb WMA version RAR size: 1265 mb Rating: 4.7 Votes: 924 Other Formats: MP3 MMF ADX VOX AIFF DXD VQF Tracklist 1 Juana Mil Ciento 6:30 2 Ilya 9:20 3 Adagio 5:46 4 Misa Negra 17:40 5 Aguanile 4:58 Bonus Tracks 6 Xiomara 6:12 7 Por Romper El Coco 5:23 8 Baila Mi Ritmo 6:10 Companies, etc. Phonographic Copyright (p) – Sony Music Entertainment Copyright (c) – Sony Music Entertainment Manufactured By – Sony Music Labels Inc. Credits Artwork – Pablo Labañino Bass – Carlos del Puerto Drums – Enrique Plá Guitar – Carlos Emilio Morales Percussion – Jorge Alfonso Piano – Chucho Valdés Saxophone – Carlos Averhoff, Paquito D'Rivera Trumpet – Arturo Sandoval, Jorge Varona Vocals – Armando Cuervo, Oscar Valdés Notes ℗ © 1978 Barcode and Other Identifiers Barcode (Text): 4 547366 258943 Barcode (Scan): 4547366258943 Rights Society: JASRAC Other (Price): ¥1000 Other versions Category Artist Title (Format) Label Category Country Year LD-3797 Irakere Irakere (LP, Album) Areito LD-3797 Cuba 1978 Live At Newport Jazz Festival And Montreux none Irakere Not On Label none Unknown Jazz Festival (CD, Album, Unofficial) IG-13.005, Integra, IG-13.005, Irakere Irakere (LP, Album) Venezuela 1978 13005 Integra 13005 JC 35655, Irakere (LP, Album, Promo, Columbia, JC 35655, Irakere US 1979 35655 Gat) Columbia 35655 "Live" At Newport Jazz VIJ-6327 Irakere Festival and
    [Show full text]
  • An Ethnomusicological Study of the Policies and Aspirations for US
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Beyond the Blockade: An Ethnomusicological Study of the Policies and Aspirations for U.S.-Cuban Musical Interaction Timothy P. Storhoff Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BEYOND THE BLOCKADE: AN ETHNOMUSICOLOGICAL STUDY OF THE POLICIES AND ASPIRATIONS FOR U.S.-CUBAN MUSICAL INTERACTION By TIMOTHY P. STORHOFF A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2014 Timothy Storhoff defended this dissertation on April 2, 2014. The members of the supervisory committee were: Frank Gunderson Professor Directing Dissertation José Gomáriz University Representative Michael B. Bakan Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To Mom and Dad, for always encouraging me to write and perform. iii ACKNOWLEDGMENTS This dissertation was made possible through the support, assistance and encouragement of numerous individuals. I am particularly grateful to my advisor, Frank Gunderson, and my dissertation committee members, Michael Bakan, Denise Von Glahn and José Gomáriz. Along with the rest of the FSU Musicology faculty, they have helped me refine my ideas and ask the right questions while exemplifying the qualities required of outstanding educators and scholars. From the beginning of my coursework through the completion of my dissertation, I could not have asked for a finer community of colleagues, musicians and scholars than the musicologists at the Florida State University.
    [Show full text]
  • Redalyc.Making Meaning by Default. Timba and the Challenges Of
    Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Perna, Vincenzo Making meaning by default. Timba and the challenges of escapist music Trans. Revista Transcultural de Música, núm. 9, diciembre, 2005, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82200906 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Making meaning by default. Timba and the challenges of escapist music Revista Transcultural de Música Transcultural Music Review #9 (2005) ISSN:1697-0101 Making meaning by default. Timba and the challenges of escapist music Vincenzo Perna Abstract The article examines timba as a form of discourse inscribed in the influential notion of the ‘black Atlantic’ formulated by Paul Gilroy. It makes the case of timba as a type of non-engaged music which, while presenting itself as emphatically escapist, during the 1990s has in fact become intensely political in the way it has articulated a discourse challenging dominant views on race, class, gender and nation. Significantly, Gilroy’s analysis pays a special attention to music and dance, considering them as foundational elements of black diasporic culture. Such role of music and dance can be seen at work in timba, where they have challenged the conventional
    [Show full text]
  • Ramón Valle Cuban Pianist Ramón Valle Is a Seasoned Veteran with the Explosive Energy of a Racehorse Straight out of the Gate
    Ramón Valle Cuban pianist Ramón Valle is a seasoned veteran with the explosive energy of a racehorse straight out of the gate. Ramón’s stage presence is commanding, whetever within the ranks of an orchestra or leading a trio. His performances and stage presence are charismatic, his music – intoxicating. Valle was only seven when he began studying the piano at the Escuela Nacional de Arte in his hometown Holguin, Cuba. He later completed his advanced studies at the Escuela Nacional de Arte in Havana. After establishing himself on the jazz festival scene in Mexico, Bogota and Havana, the great Cuban pianist and founder of Irakere, Chucho Valdes, declared Ramón Valle ‘The greatest talents among our young pianists’, when introducing Ramón on his debut album, Levitando in 1993. Valle’s original composition, Levitando, has since become a well known Cuban anthem around the world. Valle has been featured on international stages as: The London Jazz Festival, The North Sea Jazz Festival, Havana Jazz festival, Bogotá Jazz Festival/Colombia, Montreux Jazz Festival, Leverkusen Festival, Piano Solo Festival/Prague, Capetown Jazz Festival, Melbourne Jazz Festival, Johannesburg Jazz Festival, Hungarian Jazz Festival/Budapest, Israel’s Sinfonietta Beer Sheva, and shared the stage with musicians as Roy Hargrove, Marcus Miller, Chucho Valdes among others. Ramón Valle is an official Steinway Artist. He recorded 13 albums, of which 3 albums with the German record label ACT and he is now signed to In+Out Records, a German-based independent label with distribution throughout Europe, The USA and other international countries. In September 2018 Ramón Valle won the Cubadisco Award, Cuba’s most prestigious music award, for his album ‘’The Art Of Two’’ in the category ‘’Best Instrumental Album 2018’’.
    [Show full text]
  • Chucho Valdés
    Courtesy Columbia Artists Management Artists Columbia Courtesy CHUCHO VALDÉS PROGRAM There will be an intermission. //////////////////////////////////////////////////////////////////////////////////////////////// Saturday, October 4 at 8 PM Zellerbach Theatre 12 // ANNENBERG CENTER LIVE ABOUT THE ARTIST Winner of five Grammy® and three Latin Grammy® Awards, the Cuban pianist, composer and arranger Chucho Valdés is the most influential figure in modern Afro-Cuban jazz. His most recent work, Border-Free, features eight pieces (all but one new originals) and is a great example of Valdés’ musical pursuit, one in which the conventional limits of style and tradition blur and disappear. On this recording, Valdés is featured with his Afro-Cuban Messengers, and the compositions include nods to flamenco, the Gnawa music of Morocco and the ritual rhythms of the Orishas, the deities of the Afro-Cuban Santería religion. There are mentions of hard-bop and danzón but also echoes of Bach, Rachmaninoff and Miles Davis, and yet the sum total is a deeply personal and open-ended sound. Dionisio Jesús "Chucho" Valdés Rodríguez was born in a family of musicians in Quivicán, Havana province, Cuba on October 9, 1941. His first teachers were his father, the pianist, composer and bandleader Ramón “Bebo” Valdés, and his mother Pilar Rodríguez, who sang and played the piano. At the age of three, Valdés was already able to play melodies he heard on the radio. At the age of five, Valdés began to take lessons on piano, theory and solfege with maestro Oscar Muñoz Boufartique. He continued his studies at the Conservatorio Municipal de Música de la Habana, from which he graduated at age 14.
    [Show full text]
  • Music of Cuba 1 Music of Cuba
    Music of Cuba 1 Music of Cuba Music of Cuba General topics Related articles Genres Batá and yuka · Bolero · Chachachá · Changui · Charanga · Conga · Contradanza · Danzón · Descarga · Filín · Guajira · Guaracha · Habanera · Jazz · Hip hop · Mambo · Nueva trova · Rock · Rumba · Salsa cubana · Son · Son montuno · Timba · Trova Media and performance Music awards Beny Moré Award National anthem La Bayamesa Regional music Anguilla · Antigua and Barbuda · Aruba · Bahamas · Barbados · Bermuda · Bonaire · Cayman Islands · Curaçao · Dominica · Dominican Republic · Grenada · Guadeloupe · Haiti · Jamaica · Louisiana · Martinique · Montserrat · Puerto Rico · St Kitts and Nevis · St Lucia · St Vincent and Grenadines · Trinidad and Tobago · Turks and Caicos · Virgin Islands The Caribbean island of Cuba has developed a wide range of creolized musical styles, based on its cultural origins in Europe and Africa. Since the 19th century its music has been hugely popular and influential throughout the world. It has been perhaps the most popular form of world music since the introduction of recording technology. The music of Cuba, including the instruments and the dances, is mostly of European (Spanish) and African origin. Most forms of the present day are creolized fusions and mixtures of these two sources. Almost nothing remains of the original Indian traditions.[1] Overview Large numbers of African slaves and European (mostly Spanish) immigrants came to Cuba and brought their own forms of music to the island. European dances and folk musics included zapateo, fandango, paso doble and retambico. Later, northern European forms like minuet, gavotte, mazurka, contradanza, and the waltz appeared among urban whites. There was also an immigration of Chinese indentured laborers later in the 19th century.
    [Show full text]
  • Diskographie1 Musiksammlungen Afrokubanische Musik/Rumba
    Diskographie1 Musiksammlungen Diverse: Che. Hasta Siempre en Nuestra Música (1997), Caribe Productions. — Cuba – I am Time (1997), Blue Jackel [4 CD-Box]. — Cuba Classics II: Incredible Dance Hits of the ’60s + ’70s (1991), Luaka Bop. — Cuba Classics III: New Directions in Cuban Music – Diablo al Inferno (1992), Luaka Bop. — Cuban Lullaby (2002), ellipsis arts. — Divas of Cuba (2001), Kiddinx. — From Afrocuban Music to Salsa (1998), Piranha. — Hecho en Cuba (2002), Universal. — La Isla de la Música (1997), Magic Music. — Oriente de Cuba (2000), Nimbus [5 CD-Box plus CD-ROM]. — Santeros y Salseros (2002), Real Rhythm. Estrellas de Areito: Los Heroes (1998), World Circuit. Afrokubanische Musik/Rumba Coro Folklórico: En un Solar Habanero (2000), EGREM. Diverse: Antología de la Música Afrocubana Vol. 1-9 (1980ff.), EGREM [LP]. — Cantos de Congos y Paleros (1994), Artex. — Cantos y Toques de Santería (1994), Artex. — Cuba: les Danses des Dieux – Musique de Cultes et Fêtes Afro-Cubains (1988), Harmonia Mundi. — El Camino de la Salsa (2001), World Music Network. — Fiesta Cubana: Rumba (1991), Artex. — La Rumba Está Buena (1999), Corason. — La Rumba Soy Yo (2000), Bis Music. — Original Rumbas (1993), EPM. — Real Rumba from Cuba (1994), Corason. — Rough Guide: Afro-Cuba (2001), World Music Network. Grupo Oba-Ilu: Santería (2001), Soul Jazz Records. 1 Naturgemäß eine Auswahl, erstellt von Torsten Eßer. Die Diskographie umfasst hauptsächlich neuere Einspielungen und fast nur CDs. Wo es sich um LPs oder Kassetten handelt, ist dies gesondert angegeben. Das schließt nicht aus, dass es nicht inzwischen irgendwo ein Neuauflage als CD gibt. Produkte, die in Europa nicht erhältlich sind, können fast ausnahmslos per Internet bestellt werden.
    [Show full text]